Urban Jealousy

URBAN LOUSY @ BERLIN 18th JuNE – 21th JuNE CIRCUS CHARIVARI‏

2010-06-08T18:02:00.000-07:00

Urban-lousy, patrons-greedy, mad about security, take jealousy as the base-line or the cream. Urban-lousy, freaks are new dragons, monsters of the old maps, and the unknown is hand in hand with any unbearable thing. All we do is to try and stay independent, urban-lousy is such an endeavor in this meetinghttp://urbanlousy.com/ URBAN JEALOUSY ” INDEPENDENT ,DEPENDENT & PENDENT RESTIVAL “

URBAN LOUSY @ BERLIN 18th JUNE – 21th JUNE CIRCUS CHARIVARI http://www.circuscharivari.de/index.php?option=com_content&view=category&layout=blog&id=48&Itemid=76

Its eyes turned green with jealousy, our path it crossed. That green-eyed thing, market of arts as it was disguised, said, “You are mine”, and then we fled. It wanted us as a trophy wife for a poseur’s call, a mistress on the fetishist institution’s hall, and we fled. It was a roaming biennial, a different love story we enjoyed. Landing from Istanbul to Berlin and Belgrade, ours was not the only path for sure, on which its green-eyes dawned. Once upon a time, and under a desiring gaze, freak is the one the green-eyed thing looked out; it was a duty call. For, on the outskirts of the circus and the fair, exoticism is the freak’s license; he was set out for a stroll. If a connoisseur was willing to pay for a glance, the freak was tolerated to get out, within the limits of the wall. Often the freak was strong enough, then opened an arena, and he was let out, as long as the patrons did not appall. When the patrons asked for entertainment, to their table came the freak, allowed to sit out, but not for hospitality at all. The creatures to be moved out, boot out, walled out, put out; they are called freaks, the subject we address with the words below. Take the freak as the scary monster, the creepy creature, anyone unusual, in his physical appearance or patterns of behavior. Freakiness is in the eyes of the beholder, may he be the patron or the connoisseur, guarded by eyes so green, and up above. New rules of inclusion and exclusion are set in the city; gentrification and security are the themes that blink on the shiny screen, hung on the city’s door. In today’s cityscape, the connoisseur is after exchanging a glance, a glance that would maximize his gain, make him want more and more again. For the green-eyed thing, this is the sign of the times, today’s ultimate claim. As the search for gain lands him on urban rent, appropriating the place the freak lives in becomes the connoisseur’s aim. The connoisseur is taken over by the green-eyed thing, to say it once again. Read jealousy as greed, the connoisseur yearns to be the patron; green-eyes flare the same. Asking for more, the greedy displaces us, but not as a whole. First he targets the freak, questions what the freak is doing in this hole. “Get the hell out of here” says his inner voice. He whispers sweet words, but then comes an iron fist, banging on the freak’s door. He announces: “These freaks, aren’t they the criminals, threats, enemies? We have to get rid of them once and for all.” He demands stamps on ass, chips in arms, and says: “We can mop them out behind walls and barbed wires, outside the frontiers of our hall. Isn’t this the most secure and efficient of it all?” Gentrification, regeneration, sustainability is the catch phrase; the greedy is the connoisseur, the standard-bearer of this call. That green-eyed thing, it fixes the desiring gaze on them again. The greedy is able to reconstruct the freak, searching to maximize his gain. There is the exotic, the gifted, the beautiful among the freak, why bother the slain. He takes the talent, exhibits the gift, embodies the beauty, the genie, whatever the freak has as for a peculiarity; this is his optimistic claim. “Enjoy the bridge… Join the dialogue… Cooperate…” he says, without any shame. When recruitment does not pay, he can start all over again. He institutes a brand new market; grins the green-eyed thing, for this is in its name. “The city does not want you, if you do not have market value.” says the green-eyed thing, it is the command. No room for mockery, criticism or comment. Those who dare to challenge this, grow a third eye, sixth finger, a tail or a horn. They become the freak, the threat, the enemy; the greedy is in a battle, but he is not forlorn. They have a file, wide open, seen with eyes so green. “Bio-measure out, gene out, heat out, but efficiently”, so says the decree. It is written in the greedy’s name, with the highest degree of security. “The city does not want you, if you do not buy market value” adds the greedy; it makes the green-eyes gleam. “Consumption means acceptability, otherwise it is freaky” are the words that go with the stream. The stream pushes the freak to a distant playground, only there, he is let to live, go wild and scream. Yet he should not leave the playground, as the mess scattered outside these limits, contaminates the dream. The dream belongs to the green-eyed thing; without the freak in it, the city is secure, neat and clean. In matters of inclusion and exclusion, the patrons’ authority is absolute; the green-eyed thing is in vain. Do not ask whether the connoisseur is jealous of the freak; his home, his peculiarity, his existence is in line, for the sake of greed. The gods of the new and expanding market are now disguised as high-security, they demand obedience; otherwise you are the broken reed. They ask for sacrifice, day in, day out, this is how the green-eyes feed. Yet it wants new flavors after a point of saturation, meaning sacrifices in new terrains, in a more exotic breed. Urban-lousy, patrons-greedy, take jealousy as the base-line or the cream. Freakiness is in the eyes of the beholder; the beholder looks for new markets, it is not a daydream. The freaks become the new dragons, cyclops, monsters, creeps, dinosaurs of the old maps; the unknown is hand in hand with any unbearable thing. What are the freaks supposed to do then? We do not know, nor can we provide the ultimate cling. Keep in mind, there are escape routes for the unrecruitable, and they are on the brink.In the escape routes, let us not hesitate being lousier than the cityscape, and care to fall no prey to the greedy, the security, nor to become a decoration in the extended market scheme. Let us keep on becoming the dragons, cyclops, monsters, creeps, dinosaurs, freaks of our own maps, speak our own words independently, get together and then flee in different directions, taking pains to remain outside in every moment and in every scene.http://urbanlousy.com/

Sanat piyasası “ya benimsin, ya toprağın” diyordu, biz de kaçtık. Bir para babasına eş(ya) olmamak için kaçtık, sanat aşığı kurumsal yapılara metres olmamak için kaçtık. Yaptığımız Gezici Bienal başka bir aşk hikayesiydi. Istanbul’dan Berlin’e oradan Belgrad a konduk . Bir kentten bir kente konarken, tek kıskanılan biz değildik zaten. Hilkat garibeleri, ucubeler vardı mesela. Çoğunluğu mahlukattan sayılır, kenara köşeye tıkılır, görünmesin diye etrafı sarılır, görünenin kafası taşla yarılırdı. Yeterince egzotikse bu hilkat garibesi, kenarda durmak için izinli sayılırdı. Birisi bi’bakıp çıkmak için para sayardı ya, sirkin panayırın köşesinde, ona müsamaha tanınırdı. Yeterince kuvvetliyse mahluk, arenaya salınırdı. Muktedirleri eğlendirdiği sürece, ucubeye yer ayrılırdı. Meraklısı kıskanır mıydı hilkat garibesini? Ucubede iktidar sahibine ait ne vardı? Bugünün kentinin meraklısı da bi’bakıp çıkıp, kar etmenin peşinde. Bugünün kentinde de meraklısı, iktidar derdinde. Yeri geldiğinde, gözü garibenin durduğu yerin ta kendisinde. Bugünün kentinde büyük paralar araziden kazanılırken, iktidar derdindeki, hinoğlu hin, kıskançlığının kökü açgözlülüğünde. Açgözlü, paraya para dememek için, herkesi yerinden etme işinde. Mesela o ucubenin ne işi var ki o kadar değerli yerde? “Gitsinler bunlar buradan” derken çeşitli yollara baş vurulmakta , gerektiğinde güç kullanılmakta, “… bunlar suçludur, düşmandır, tehdittir” de işin bahanesi olmakta. kıçına bir damga basıp, kolluna bir çip takıp, en etkin en ucuz yöntemle, uzağa atılması, duvarlar, teller ardına koyulması gerekmekte. Mekanın ancak öylece mutenalaşacağı, kentin ancak öylece yenileneceği ve hayatın da ancak öylece sürdürülebilir olacağı söylenmekte. Aynı zamanda açgözlü, paraya para dememek için, onları yeniden inşa etmenin de derdinde. Varsa bir egzotiği, yeteneklisi, güzeli, onun da becerisini alıp satmanın, teşhire koymanın, özelliğini, güzelliğini kendi bedenine yamamanın peşinde. Kendi yarattğı frankeştayn ile köprü ve diyalog işinde. Zaten icap ettiğinde devşirme mahlukları itinayla yaratma, pazarlama, olmadı piyasasını bizzat kurma yeteneğinde. Piyasada bir ederin yoksa, kent seni istememekte .Pazarlanamazlık üstü kuruntulu düzene gıcık gitme ihtimalin, altıncı parmağının, üçüncü gözünün, kuyruğunun, boynuzun yerine geçmekte. Fişlenme, şişlenme, kıçına damga, koluna bir çip, en ucuzundan, en etkininden defedilme, hapsedilme, defnedilme ihtimali senin önüne de gelmekte. Kentin açgözlü yeni efendileri “güvenlik… güvenlik…” diye inlemekte. Piyasa tanrısı, her günü güvenlik bayramından sayıp, kurban istemekte. Peki, eski haritaların yeni ejderhalarının, mahluklarının, dinozorlarının, ucubelerinin, hilkat garibelerinin ne yapması gerekmekte? Biz ne bilelim… Bi’düşününce, kent berbat, efendileri kıskanç. Derdimiz kıskançlığa yüz vermeyip, kaçak noktaları kovalamak ya, kaçak noktamız, yeri geldiğinde kentten daha berbat olmaktan çekinmemekte, bu arada, piyasaya götü kaptırmamaya, güvenliğe kurban gitmemeye , sermayenin dekoratif unsuru olmamaya itina etmekte. Ne diyelim…Kendi haritalarımızın mahlukları olmaya, kendi sözümüzü bağımsız söylemeye, bir araya gelmeye ve beş benzemez istikamete dağılmaya devam edelim.

URBAN LOUSY @ BERLIN 18th JuNE – 21th JuNE CIRCUS CHARIVARI‏

2010-06-07T07:52:00.000-07:00

URBAN LOUSY

http://urbanlousy.com/

URBAN JEALOUSY ”INDEPENDENT ,DEPENDENT & PENDENT RESTIVAL “

@ BERLIN 18th JUNE – 21th JUNE CIRCUS CHARIVARI http://www.circuscharivari.de/index.php?option=com_content&view=category&layout=blog&id=48&Itemid=76

Sanat piyasası “ya benimsin, ya toprağın” diyordu, biz de kaçtık. Bir para babasına eş(ya) olmamak için kaçtık, sanat aşığı kurumsal yapılara metres olmamak için kaçtık. Yaptığımız Gezici Bienal başka bir aşk hikayesiydi. Istanbul’dan Berlin’e oradan Belgrad a konduk . Bir kentten bir kente konarken, tek kıskanılan biz değildik zaten.Hilkat garibeleri, ucubeler vardı mesela. Çoğunluğu mahlukattan sayılır, kenara köşeye tıkılır, görünmesin diye etrafı sarılır, görünenin kafası taşla yarılırdı. Yeterince egzotikse bu hilkat garibesi, kenarda durmak için izinli sayılırdı. Birisi bi’bakıp çıkmak için para sayardı ya, sirkin panayırın köşesinde, ona müsamaha tanınırdı. Yeterince kuvvetliyse mahluk, arenaya salınırdı. Muktedirleri eğlendirdiği sürece, ucubeye yer ayrılırdı. Meraklısı kıskanır mıydı hilkat garibesini? Ucubede iktidar sahibine ait ne vardı?Bugünün kentinin meraklısı da bi’bakıp çıkıp, kar etmenin peşinde. Bugünün kentinde de meraklısı, iktidar derdinde. Yeri geldiğinde, gözü garibenin durduğu yerin ta kendisinde. Bugünün kentinde büyük paralar araziden kazanılırken, iktidar derdindeki, hinoğlu hin, kıskançlığının kökü açgözlülüğünde.Açgözlü, paraya para dememek için, herkesi yerinden etme işinde. Mesela o ucubenin ne işi var ki o kadar değerli yerde? “Gitsinler bunlar buradan” derken çeşitli yollara baş vurulmakta , gerektiğinde güç kullanılmakta, “… bunlar suçludur, düşmandır, tehdittir” de işin bahanesi olmakta. kıçına bir damga basıp, kolluna bir çip takıp, en etkin en ucuz yöntemle, uzağa atılması, duvarlar, teller ardına koyulması gerekmekte. Mekanın ancak öylece mutenalaşacağı, kentin ancak öylece yenileneceği ve hayatın da ancak öylece sürdürülebilir olacağı söylenmekte.Aynı zamanda açgözlü, paraya para dememek için, onları yeniden inşa etmenin de derdinde. Varsa bir egzotiği, yeteneklisi, güzeli, onun da becerisini alıp satmanın, teşhire koymanın, özelliğini, güzelliğini kendi bedenine yamamanın peşinde. Kendi yarattğı frankeştayn ile köprü ve diyalog işinde. Zaten icap ettiğinde devşirme mahlukları itinayla yaratma, pazarlama, olmadı piyasasını bizzat kurma yeteneğinde.Piyasada bir ederin yoksa, kent seni istememekte .Pazarlanamazlık üstü kuruntulu düzene gıcık gitme ihtimalin, altıncı parmağının, üçüncü gözünün, kuyruğunun, boynuzun yerine geçmekte. Fişlenme, şişlenme, kıçına damga, koluna bir çip, en ucuzundan, en etkininden defedilme, hapsedilme, defnedilme ihtimali senin önüne de gelmekte.Kentin açgözlü yeni efendileri “güvenlik… güvenlik…” diye inlemekte. Piyasa tanrısı, her günü güvenlik bayramından sayıp, kurban istemekte.Peki, eski haritaların yeni ejderhalarının, mahluklarının, dinozorlarının, ucubelerinin, hilkat garibelerinin ne yapması gerekmekte? Biz ne bilelim…Bi’düşününce, kent berbat, efendileri kıskanç. Derdimiz kıskançlığa yüz vermeyip, kaçak noktaları kovalamak ya, kaçak noktamız, yeri geldiğinde kentten daha berbat olmaktan çekinmemekte, bu arada, piyasaya götü kaptırmamaya, güvenliğe kurban gitmemeye , sermayenin dekoratif unsuru olmamaya itina etmekte. Ne diyelim…Kendi haritalarımızın mahlukları olmaya, kendi sözümüzü bağımsız söylemeye, bir araya gelmeye ve beş benzemez istikamete dağılmaya devam edelim.

URBAN LOUSY
http://www.circuscharivari.de/index.php?option=com_content&view=category&layout=blog&id=48&Itemid=76

” INDEPENDENT ,DEPENDENT & PENDENT RESTIVAL “

urbanlousy ( at ) gmail ( point ) com

URBAN LOUSY @ BERLIN 18th JuNE – 21th JuNE CIRCUS CHARIVARI‏

2010-06-03T07:49:00.000-07:00

URBAN LOUSY

http://urbanlousy.com/

URBAN LOUSY ” INDEPENDENT ,DEPENDENT & PENDENT RESTIVAL “

@ BERLIN 18th JuNE – 21th JuNE CIRCUS CHARIVARI‏

http://www.circuscharivari.de/index.php?option=com_content&view=category&layout=blog&id=48&Itemid=76

The greedy is able to reconstruct the freak, searching to maximize his gain. There is the exotic, the gifted, the beautiful among the freak, why bother the slain. He takes the talent, exhibits the gift, embodies the beauty, the genie, whatever the freak has as for a peculiarity; this is his optimistic claim. “Enjoy the bridge… Join the dialogue… Cooperate…” he says, without any shame. When recruitment does not pay, he can start all over again. He institutes a brand new market; grins the green-eyed thing, for this is in its name. “The city does not want you, if you do not have market value.” says the green-eyed thing, it is the command. No room for mockery, criticism or comment. Those who dare to challenge this, grow a third eye, sixth finger, a tail or a horn. They become the freak, the threat, the enemy; the greedy is in a battle, but he is not forlorn. They have a file, wide open, seen with eyes so green. “Bio-measure out, gene out, heat out, but efficiently”, so says the decree. It is written in the greedy’s name, with the highest degree of security.

“The city does not want you, if you do not buy market value” adds the greedy; it makes the green-eyes gleam. “Consumption means acceptability, otherwise it is freaky” are the words that go with the stream. The stream pushes the freak to a distant playground, only there, he is let to live, go wild and scream. Yet he should not leave the playground, as the mess scattered outside these limits, contaminates the dream. The dream belongs to the green-eyed thing; without the freak in it, the city is secure, neat and clean. In matters of inclusion and exclusion, the patrons’ authority is absolute; the green-eyed thing is in vain. Do not ask whether the connoisseur is jealous of the freak; his home, his peculiarity, his existence is in line, for the sake of greed. The gods of the new and expanding market are now disguised as high-security, they demand obedience; otherwise you are the broken reed. They ask for sacrifice, day in, day out, this is how the green-eyes feed. Yet it wants new flavors after a point of saturation, meaning sacrifices in new terrains, in a more exotic breed. Urban-lousy, patrons-greedy, take jealousy as the base-line or the cream. Freakiness is in the eyes of the beholder; the beholder looks for new markets, it is not a daydream. The freaks become the new dragons, cyclops, monsters, creeps, dinosaurs of the old maps; the unknown is hand in hand with any unbearable thing. What are the freaks supposed to do then? We do not know, nor can we provide the ultimate cling. Keep in mind, there are escape routes for the unrecruitable, and they are on the brink.In the escape routes, let us not hesitate being lousier than the cityscape, and care to fall no prey to the greedy, the security, nor to become a decoration in the extended market scheme. Let us keep on becoming the dragons, cyclops, monsters, creeps, dinosaurs, freaks of our own maps, speak our own words independently, get together and then flee in different directions, taking pains to remain outside in every moment and in every scene.

URBAN LOUSY ”INDEPENDENT,DEPENDENT & PENDENT RESTIVAL“

http://urbanlousy.com

Sanat piyasası “ya benimsin, ya toprağın” diyordu, biz de kaçtık. Bir para babasına eş(ya) olmamak için kaçtık, sanat aşığı kurumsal yapılara metres olmamak için kaçtık. Yaptığımız Gezici Bienal başka bir aşk hikayesiydi. Istanbul’dan Berlin’e oradan Belgrad a konduk . Bir kentten bir kente konarken, tek kıskanılan biz değildik zaten.
Hilkat garibeleri, ucubeler vardı mesela. Çoğunluğu mahlukattan sayılır, kenara köşeye tıkılır, görünmesin diye etrafı sarılır, görünenin kafası taşla yarılırdı. Yeterince egzotikse bu hilkat garibesi, kenarda durmak için izinli sayılırdı. Birisi bi’bakıp çıkmak için para sayardı ya, sirkin panayırın köşesinde, ona müsamaha tanınırdı. Yeterince kuvvetliyse mahluk, arenaya salınırdı. Muktedirleri eğlendirdiği sürece, ucubeye yer ayrılırdı. Meraklısı kıskanır mıydı hilkat garibesini? Ucubede iktidar sahibine ait ne vardı?
Bugünün kentinin meraklısı da bi’bakıp çıkıp, kar etmenin peşinde. Bugünün kentinde de meraklısı, iktidar derdinde. Yeri geldiğinde, gözü garibenin durduğu yerin ta kendisinde. Bugünün kentinde büyük paralar araziden kazanılırken, iktidar derdindeki, hinoğlu hin, kıskançlığının kökü açgözlülüğünde.
Açgözlü, paraya para dememek için, herkesi yerinden etme işinde. Mesela o ucubenin ne işi var ki o kadar değerli yerde? “Gitsinler bunlar buradan” derken çeşitli yollara baş vurulmakta , gerektiğinde güç kullanılmakta, “… bunlar suçludur, düşmandır, tehdittir” de işin bahanesi olmakta. kıçına bir damga basıp, kolluna bir çip takıp, en etkin en ucuz yöntemle, uzağa atılması, duvarlar, teller ardına koyulması gerekmekte. Mekanın ancak öylece mutenalaşacağı, kentin ancak öylece yenileneceği ve hayatın da ancak öylece sürdürülebilir olacağı söylenmekte.
Aynı zamanda açgözlü, paraya para dememek için, onları yeniden inşa etmenin de derdinde. Varsa bir egzotiği, yeteneklisi, güzeli, onun da becerisini alıp satmanın, teşhire koymanın, özelliğini, güzelliğini kendi bedenine yamamanın peşinde. Kendi yarattğı frankeştayn ile köprü ve diyalog işinde. Zaten icap ettiğinde devşirme mahlukları itinayla yaratma, pazarlama, olmadı piyasasını bizzat kurma yeteneğinde.
Piyasada bir ederin yoksa, kent seni istememekte .Pazarlanamazlık üstü kuruntulu düzene gıcık gitme ihtimalin, altıncı parmağının, üçüncü gözünün, kuyruğunun, boynuzun yerine geçmekte. Fişlenme, şişlenme, kıçına damga, koluna bir çip, en ucuzundan, en etkininden defedilme, hapsedilme, defnedilme ihtimali senin önüne de gelmekte.
Kentin açgözlü yeni efendileri “güvenlik… güvenlik…” diye inlemekte. Piyasa tanrısı, her günü güvenlik bayramından sayıp, kurban istemekte.
Peki, eski haritaların yeni ejderhalarının, mahluklarının, dinozorlarının, ucubelerinin, hilkat garibelerinin ne yapması gerekmekte? Biz ne bilelim…
Bi’düşününce, kent berbat, efendileri kıskanç. Derdimiz kıskançlığa yüz vermeyip, kaçak noktaları kovalamak ya, kaçak noktamız, yeri geldiğinde kentten daha berbat olmaktan çekinmemekte, bu arada, piyasaya götü kaptırmamaya, güvenliğe kurban gitmemeye , sermayenin dekoratif unsuru olmamaya itina etmekte. Ne diyelim…
Kendi haritalarımızın mahlukları olmaya, kendi sözümüzü bağımsız söylemeye, bir araya gelmeye ve beş benzemez istikamete dağılmaya devam edelim.

http://urbanlousy.com/

URBAN LOUSY

http://www.circuscharivari.de/index.php?option=com_content&view=category&layout=blog&id=48&Itemid=76

” INDEPENDENT ,DEPENDENT & PENDENT RESTIVAL “
urbanlousy ( at ) gmail ( point ) com

URBAN JEALOUSY IN BELGRADE APPLICATION / VENUES 3-10 APRIL 2009‏

2009-02-25T09:22:00.000-08:00

Design by 2/5BZ
New Image for Urban Jealousy / Biennial Tehran / AAAARRRTT
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URBAN JEALOUSY IN BELGRADE APPLICATION / VENUES

3-10 APRIL 2009

Urban Jealousy the 1st International Roaming Biennial of Tehran 3rd station: Belgrade, 3rd -10th of April 2009

Curated by Serhat Koksal and Amirali Ghasemi

Venues:

3rd April Magacin MKM, Kraljevića Marka 4 and 8 Exhbition / 3rd April Club Zica - Performances

4th April CZKD - Centar za Kulturnu Dekontaminaciju / Center for Cultural Decontamination, Exhibition/ PerformancesBirčaninova 21

8th April Dom Omladine - Screenings

9th April Elektrika Pancevo - Performances

Dead lines: 15th of March 2009

for sending the online application with Email biennialtehran@gmail.com ( Serhat Koksal ,Amirali Ghasemi )

Application Form ; http://www.biennialtehran.com/uj-belgrade.doc http://www.divshare.com/download/6626207-af2

25th of March 2009 By this time packages should be received in Belgrade. .................

The 1st International Roaming Biennial of Tehran,Urban Jealousy

* Istanbul 30 May - 6 July 2008 * Berlin 20 Nov - 7 Dec. 2008 * Belgrade 03 Apr - 10 Apr. 2009

http://www.myspace.com/biennialtehran

http://www.biennialtehran.com/

URBAN JEALOUSY INTERVIEW

2009-02-25T09:03:00.000-08:00

http://www.biennialtehran.com/

http://www.myspace.com/biennialtehran

http://www.facebook.com/event.php?eid=46106876988 Urban Jealousy Belgrade
http://www.facebook.com/home.php#/group.php?gid=11244991467 group

* Biennial Tehran / Urban Jealousy in Istanbul 30 May - 6 July 2008
* Biennial Tehran / Urban Jealousy in Berlin 20 Nov - 7 Dec. 2008
* Biennial Tehran / Urban Jealousy in Belgrade 03 Apr - 10 Apr. 2009

The 1st International Roaming Biennial of Tehran ,Urban Jealousy International Roaming Biennial of Tehran, curated and organized by Serhat Koksal and Amirali Ghasemi ,chose Istanbul as its first station . The idea of this independent, low-budget exhibition started out both as a critique of theinternational "biennialization" and '' gentrification '' process.Featured works by artists from different countries from all around the world, selected from an open submission call, which has had an overwhelming response. Berlin is it's 2nd station.Belgrade will be 3th stop . VIDEOS/POSTERS/DRAWINGS/PHOTOGRAPHS/POSTCARDS/STICKERS/PERFORMANCES/MUSIK ....... biennialtehran@gmail.com ...........................................................BANT MAGAZINE INTERVIEW MAY 2008 bant magazinehttp://www.divshare.com/image/6427163-a0a

http://www.divshare.com/image/4395480-617

“BIENNINAL TEHRAN” THAT IS INNOVATIVE , UNLIMITED AND INDEPENDENT WITH IT’S THEME OF “URBAN JEALOUSY” BELONGING TO IRANIAN ARTIST AMIRALI GHASEMI AND SERHAT KOKSAL WHO WE ALSO KNOW AS 2/5 BZ WILL START ON 30 MAY AT IT’S FIRST STOP KARAKOY HAFRIYAT ISTANBUL
We talked to Serhat Koksal and Amirali Ghasemi about the name “Tehran Biennial”, and the theme of the biennial “Urban Jealousy ” and the reason why it is being done in Istanbul ?What was the starting point of Biennial Tehran, how did this idea come into existence and how did you meet with Amirali?Serhat Koksal . I was in Tehran 12 years ago. also In 2001, I made the music of a documentary film named “Tehran 1930 ” that is widely shown in European TV channels at that time. I met some people from the art scene in Tehran.I and Amirali meet each other almost 2-3 years. We have heard our names previously but when he came to Istanbul two years ago for an exhibition with the posters he brought with him, I recognized that we have common points according to our understandings. First, he invited me to his “Deeper Depression” named exhibition that was held in 2006. I attend that exhibition with my video installation and later in 2007; he invited me to attend a project that is related to Berlin and Tehran. So I played and produced a audiovisual performance named “NO Goethe NO Hafez NO Bridge NO Biennial”. We had a thought of making a common study together since that time and he gave me some works of artists who lives there. They were successful works, but I did not have an idea of presenting Iranian artists’ works in Istanbul or somewhere else. I did not want to do this. This was something like Istanbul exhibitions with bad theme that held in European and the artists from Istanbul attend it… We were trying a theme that is related to our common problems about this common study. One day while I was in Tehran at that time I heard some artists who were making joke to each other by means of saying “we do not have an international biennial. Maybe we are lucky”. As a result of this, I told to Amirali “Ok, Amirali. The theme that we are searching must be Tehran Biennial, and we must hold this in Istanbul with the name of “Biennial Tehran”. Later I found out the Jealousy theme about Tehran. Amirali completed this with the word “Urban” and prepared a very good writing about the exhibition. Of course, attendees will not only be from Iran. Good job do not have a nationality.The main aim of the exhibition was globalizing biennial activities. Can we mention from this point of view of the exhibition?Serhat Koksal . I am conducting performances in various cities on the relationship of energy pipeline with cultural dialog enforcements, the relationship of international capital with establishing a bridge and its relationship with art and on branding studies of cities. So I believe that it is normal limiting big artistic cultural activities and doing all of them single type.I did some works including curator hegemony and these biennale subjects and also added humour in them since the beginning of 2000. And I wrote some writings in several magazines. Yes, this biennial also tries to ask that “why these biennials are made by ministry of cultures, big art foundations or by modern holdings?” Another aim is to question status difference in art world. Do not have less qualified people to make biennial? The real purpose will be constituted with its participantsAmirali, you are also founder of independent art gallery Parkingallery that operates in Tehran. We want to make interview with you in next years but could you please mention us about Parkingallery and its activities?Amirali.Ghasemi. Parkingallery is an independent design studio, project area and art gallery that started in Tehran in 1998. Our online gallery opened in 2002 and we have been preparing exhibition and panels since that time. Besides, we are working with alternative rock groups. Our real purpose is to concentrate on new medias, designs and photography and to support looking promising young artistsIn fact we do not have any idea about art in Iran. Western propaganda is one of the reasons of this. Could you please a little mention about art arena in Iran?Amirali.Ghasemi. Tahran art arena constitutes from different island. They do not talk with each other and do not have contacts. It seems as there is a competitive environment between them. But we want to consider ourselves like a boat in metaphor meaning. Of course, there are young Iranian artists who are known internationally. But most of them conducting works which are appropriate to market; simple politic art works or exotic ordinary works…And the propaganda machine is working very good and blocking the news regarding our country against typical clichés. I mean, even we received several applications from all over the world; I do not believe a miracle will be with Tehran Biennial. This biennial is mainly related with travelling, talking, reshaping the situations and developing new horizons. It is a little bit old, slow and serious for achieving the institutional biennale purposes.....................................
S MAGAZINE INTERVIEW OCTOBER 2008 S magazine http://www.divshare.com/image/6427784-525

http://www.divshare.com/image/5801588-720

THE SECOND STOP OF INTERNATIONAL ROAMING BIENNIAL IS BERLIN. THE BIENNIAL WILL BE HELD BETWEEN21-NOVEMBER-7 DECEMBER 2008 AND VARIOUS ACTIVITIOUS WILL BE HELD WITH THE NAME “URBAN STRUGGLE”IN ADDITION TO “URBAN JEALOUSY ”.Did you face with obligations for providing the independent and continues feature of the exhibition? What kind of points do you pay attention about this?Serhat Koksal We paid attention to hold the exhibition in independent places. We received several offers from all over the world for the exhibition but we did not accept the ones which are not appropriate to us because they included some positions which may protect independent feature of the exhibition. We are staying away from the activities related to cultural activities for branding the cities, and using the cultural activities ,decorations for economical purposes and sovereigns 's dialogue fetishism . I hope we will continue without mistaken.What is your Berlin Plan, do you have any plan regarding to places and activities?Serhat Koksal Thanks to our friends we are trying to find place for the exhibition and doing its introduction. In Berlin, there will be 5 exhibition places and some other activities will be held in other places. In addition to “Urban Jealousy ” theme of the exhibition, therewill be several panel and performances about “Urban Struggle” and “Cultural Relations”.Is our history combining us when comparing the cultural relationship between Turkey and Iran?Amirali Ghasemi As a person from outside I am not able to comment because I am not dominant both Turkish and Iranian politics. But I can say that Turkey and Iran share the same problems and hopes.Well, I can't really tell you if iran and turkey are coming close to eachother or going far from eachother, becasue I am not aware completly of cultural policies of the two countries But I see some positive potecial of understanding becasue Iran and Turkey in many levels are sharing similar dificulties and hopes due to their contemporay historyHow does Istanbul look like from Tehran about “Jealousy ” subject? Did you feel this aspect has changed during the time you are in Istanbul? we see jealousy as a positive action according to desires because of our failures.when we look at the tahran biennial, what was our failures that reflect jealousy?Amirali.Ghasemi At the 1st glance Iranians might look kind of jealousy when considering Istanbul, this also includes me, during my visits I saw more opportunities for art producers and cultural activist, but now may be I can understand that I was wrong to some degree, 1st of all, in Istanbul, like many other cities in the region, there more and more independent art spaces are being invaded by art market and downgraded to commercial / established galleries which are less interested in experimental practices and because of their involvement in the system of cultural mega-project and main stream waves they can't develop their critical discourse and their voice dissolves in the crowd , this process with a bit delay is happening in Tehran too,in another hand not only because of the systematic ideologic propaganda and elitist state cultural monopoly but in result of emerging a new sophisticated art market and huge investments in the small Arab states on the southern shores of the Persian gulf. http://vimeo.com/2695782

URBAN JEALOUSY Biennial Tehran Berlin Program FLYER

2008-11-11T18:32:00.000-08:00

Urban Jealousy in Berlin

2008-11-08T23:06:00.000-08:00

further details soon to be annouced....

Poster designed by Amirali Ghasemi

URBAN GENTRIFI JEALOUSY & DUBaiSTEP ISTANBUL

2008-10-28T17:46:00.000-07:00

URBAN GENTRIFI JEALOUSY

DUBaiSTEP ISTANBUL

Belgrade is changing for the better if you ask me

2008-10-07T11:25:00.000-07:00

The character of the city is a reflection of exactly what is going on in it. Each process is multi-faced and is usually seen through an economic perspective. Most ways of regenerating the city from urban redevelopment to gentrification have in their core the goal to improve a city and to have it make money.

Closing down of locally owned shops and bakeries can be part of the process of gentrification, this also happens despite gentrification.

In the case of Belgrade small, locally-owned (but chains) of bakeries are reopening. The old, unsightly bakeries are getting a new dress. They are very popular among the old residents of an area as well as inviting and injecting new life into it. Although with side-effects like “Otentik Hleb” (Authentic transcribes into Serbian as Otentik). The need to preserve the language of a nation is giving gentrification more credit than it deserves. The same goes for the springing up of monstrous shopping malls. Belgrade’s main streets within the town centre are getting their share of uniformism (the Man’s and Women’s of various world chain stores), but neighbourhoods are being spruced up, they have lighting, people moving about, crime rates within such a neighbourhood drop.

Fears have been raised about replacing the spirit and the actual ‘Kafana’ (old, traditional restaurants that serve Serbian dishes (Turkish, Hungarian, Austrian…:))). The Kafana spaces are sold and sometimes turned into something altogether different from the main purpose. But a person’s got to eat and any buyer with a savvy business sense knows he ought to keep it a Kafana. And this is what is happening more often than not - Kafanas are being redesigned in such a manner that they keep the old clientele but invite the new. No fast food here.

The sunny weekend fashion catwalk syndrome - where you have cafés you have people watching. Cafés are very popular in this part of the world and due to a large proportion of people being and wanting to stay 9-5 jobless are filling their spaces. These streets and quarts resemble catwalks any time the weather is fair.

Gentrification has a clear definition, so does globalism, so does any other term coined in the past century. Their uses alter through time and depending on the region of the world in which they are applied. The citizen should be aware of the changes going on around him and his voice should be heard. Let me know of a city that banned shopping malls.

What does all this open up for us? What are our opportunities? My latte is trying really hard to taste exactly the same as yours but I still have a choice whether I’m going to have that or a good old ‘Turska’.

Article by Tijana Krstić
Belgrade, Serbia

ISTANBUL CURATORIAL CHAMBER 2010

2008-09-29T06:56:00.000-07:00

ISTANBUL CURATORIAL CHAMBER 2010

Berlin Residents Unsettled by Wave of Gentrification, 20.06.2008

2008-09-28T09:09:00.000-07:00

http://www.dw-world.de/popups/popup_printcontent/0,,3427742,00.html (30 Jul. 08)

20.06.2008

Berlin Residents Unsettled by Wave of Gentrification

Since the Berlin Wall fell, the gentrification of some eastern neighborhoods has been ongoing. But as high-end development spreads, some are saying: enough. They fear Berlin's character could be irrevocably changed.

Mario Feist remembers that there used to be bakeries and small grocery shops in the Oderberger Strasse when he first moved there in 1989. Today, it is much easier to get a latte macchiato or a 150-euro shirt outside his front door than a loaf of bread or carton of milk.

He has watched as his street has been transformed from a dreary road marked by crumbling facades to a hip thoroughfare of renovated buildings, expensive boutiques and trendy cafés, whose sidewalks often resemble a fashion catwalk on sunny weekends.

Bildunterschrift: Großansicht des Bildes mit der Bildunterschrift: Marthashof sales office offers homes for the high-end client

It's a metamorphosis that he's not completely comfortable with, especially since it could take on a whole new dimension once the 12,000-square-meter development of luxury apartments being constructed just outside his back window is completed.

Called Marthashof, it will house around 500 people, and since the square meter price for the townhouses starts at 3,000 euros, the large influx into the neighborhood will be quite well off.

"It could become a very sterile place just for rich people and not the kind of place I'd want to live," he said. "I want to have different kinds of people here."

Expanding wave

His concerns are not his alone. As Berlin's gentrification process spreads to encompass more and more neighborhoods, people are beginning to push back at what they see as a danger to a vibrant, diverse city of neighborhoods featuring people of different social and economic backgrounds.

Bildunterschrift: Großansicht des Bildes mit der Bildunterschrift: An unrenovated and renovated building side by side on Oderberger Strasse

In some neighborhoods, like Feist's Prenzlauer Berg, gentrification has been happening for years. But as Berlin continues to pull in more investment and its international reputation attracts more wealthy people, the neighborhood has seen a construction boom in luxury apartments and townhouses, which, in comparison to London, New York or Paris, can still be had on the cheap.

The fears are that as more wealthy people move in to an area, their up-market tastes will be reflected in businesses that set up shop and rents will go up, pricing out lower and middle-income people.

Feist said he's already seen it happen in his street, when a Greek restaurateur was forced to move out after his rent was tripled when the building housing his eatery changed hands.

"Gentrification is not a good or bad thing in itself," said Antje Seidel-Schuelze, a researcher at the German Institute of Urban Affairs. "In one way, the districts where it happens become better. But long-established people in a neighborhood are often replaced by wealthier people. That leads to a certain homogeneity."

Same old same

It's that threat of sameness that riles Patrik Technau, a 23-year-old student and Prenzlauer Berg native who recently organized a protest rally near Marthashof and another high-end development that attracted 500 people. His event capped a week of demonstrations across Berlin by mostly left-wing groups who say they are against the rapid development and reconstruction of the city. During the protests, at least 30 cars were set ablaze.

Bildunterschrift: Großansicht des Bildes mit der Bildunterschrift: More up-market housing going up

"New people are moving here from abroad or other parts of Germany and driving out people who've lived here 40 or 50 years," he said. "That's not fair and it makes me very angry."

And while once the gentrification seemed limited to central neighborhoods such as Prenzlauer Berg and Mitte, it's spreading, said Andrej Holm, a professor at Berlin's Humbolt University who studies gentrification. That is what is causing the anger to rise. As people were priced out of one neighborhood, they would move. But often the gentrification wave would follow, forcing them to move again.

Now, neighborhoods that were usually seen as immune to the process, and have been long-time enclaves of ethnic communities or artists and bohemians, are attracting professionals who are tired of the boutiques and bars, and are looking for something more "authentic." Problem is, say researchers, that the lattes, renovations and higher rents aren't usually very far behind.

Keeping the mix

According to Holm, city governments have several instruments that can keep neighborhoods on their way up from losing their diversity, such as rent control mechanisms or the construction of new social housing, even in gentrified neighborhoods. But he said Berlin has generally abandoned these tools, particularly when it comes to low-rent housing.

"In the few lots where there is still space for construction, only things like luxury townhouses and gated communities are going up," he said. "The city seems to think if we increase the number of high-end apartments, it can attract the kind of people that will also improve Berlin's economic situation."

Bildunterschrift: Großansicht des Bildes mit der Bildunterschrift: The gentrification wave is expected to eventually hit even areas like Berlin's Neukölln district

But while the upper-income influx might lift a few economic boats in Berlin, it could strand people like Claudia Hering, who along with Mario Feist is part of a citizens' initiative called AIM which wants changes to the Marthashof development. "We are afraid that in two or three years we won't be able to live here anymore," she said. But would she even want to? According to researcher Seidel-Schuelze, gentrification often makes people want to leave their own neighborhoods, no matter what their history there. Not only can they perhaps no longer afford it, the new look and feel can make the place not seem like home anymore.

"I know some people who used to live (in Prenzlauer Berg) in the GDR and they say it's not my district anymore and I don't want to be with these new DINKs -- double income, no kids people," she said. "They're just not part of that world."

Kyle James

Broad sidewalk cafes, Berlin?s oldest beer garden and the boutiques between restaurants and bars make the former working class district of Prenzlauer Berg, or Prenzl?berg, a great place to people-watch. It?s one of the most desirable places to live among artsy singles and young couples.

Prenzl?berg has come a long way since its East German days when there was no such thing as ?hip? and the only colour amongst the putty-coloured façades were the dyed hair of punks. Since German reunification, half of the façades have been restored and brightly painted ? the rare few by landlords who have reclaimed the properties their families lost when fleeing Nazi Germany, but the punks have been pushed out by rent hikes. Though fine restoration jobs on turn-of-the-20th century tenement houses seem to suggest an original splendour, life here was hard scrabble for the new arrivals in the late 1800s. Drawn by factory work, Prenzlauer Berg residents multiplied to 350,000 by the 1920s, making the area one of the most cramped in Europe. In 1927, less than half of the households had electricity. Now it is electric.

The post-1990 gentrification of Prenzlauer Berg began around Kollwitzplatz,which is named after the artist and sculptor Käthe Kollwitz (1867-1945). She lived on Knaackstr. from 1891 to 1943, and in 1919 was the first woman inducted into the Prussian Art Academy. Her most prominent sculpture is the one in the Neue Wache on Unter den Linden, Germany?s national war memorial. Her artwork mostly depicts the hunger, poverty, and hoped-for revolution of the people who had become the waste of the Industrial Revolution and war. The Käthe-Kollwitz-Museum (Fasanenstr. 24; Wed - Mon 11:00 -18:00) is actually in Charlottenburg, but Kollwitz?s plain but solid likeness is represented by a sculpture in the square opposite her former home. She?d be happy to see how well-fed the neighbours are today. There?s a weekly organic food market on the square, and President Clinton even came to dine here at Gugelhof while on a state visit.

There aren?t museums to speak of in Prenzlauer Berg, but you can still sightsee. The Jüdischer Friedhof (Jewish Cemetery, Schönhauser Allee 22-23) borders Kollwitzstr. and its gravestones include that of local Expressionist painter Max Liebermann. An older Jewish cemetery in Mitte was totally desecrated by the Nazis in the 1930s, and this one fell victim to East German neo-Nazis in 1988. Many gravestones remain, however. On the way from here to the Rykestrasse Synagogue (Rykestr. 53), you?ll pass the 30m high, round redbrick Wasserturm (water tower; Belforter Strasse), built in 1877. Lace curtains in its windows prove that there is a market for pie-shaped apartments. The synagogue was built in 1904 and is hardly noticeable in the back courtyard. This position in a residential area probably saved it from being burned during Kristallnacht on November 9, 1938. A look inside is by appointment only (tel. 442 59 31).

In GDR days, to be a punk was a defiant rebuke to the Socialist State but as soon as the Wall fell, a free, democratic market did what the dictatorship never could: push the punks out. One talented neighbourhood punk who made a name for herself back in the GDR days keeps an apartment in a fairly crummy, back courtyard building in an un-hip part of Prenzlauer Berg: singer Nina Hagen. The diva (born 1955) can still pull off ponytails and makes one suspect that heavy eyeliner is a secret anti-aging potion. She grew up in Prenzlauer Berg and scored her first hit, You Forgot the Color Film in 1974. Two years later she left for West Germany with her mother and substitute father, Wolf Biermann, a folksinger expelled by the GDR. At www.nina-hagen.com you can get a sample of her strong and gravelly Eartha Kitts-meets-Carol Channing voice, as well as generous information on her life and social activism.

Culture, if not so counter anymore, bounces between the brick walls of the Kulturbrauerei (Sredzkistr. 1, plus other entrances; see box). This 19th century brewery complex shut down production in 1967, but it now makes a living on the night shift. From here, you can stumble south on Kastanienallee, which is full of more restaurants, bars, and several funky shops. Or, head north to the U-Bahn Eberswalderstr. to speed to your next destination. If you didn?t fill up on food at the beer garden, grab a curry wurst to-go from Konnopkes Imbiss (under the U-Bahn tracks between Schönhauser Allee and Danziger Str.). It?s been grilling sausages since 1930 and along with Prater, is one of the icons of the neighbourhood.

Tourist Information Centre
Prenzlauer Berg is the first area in Berlin with its own tourist information centre, inside the Kulturbrauerei complex near the Eberswalderstrasse U-Bahn station. The staff can book accommodation and inform you about events in the area, nightlife, guided walks, and about what to see in Prenzlauer Berg. The centre is also involved in erecting German and English-language signs throughout the district with information for visitors. Visit their English-language website before exploring the area.
TIC Prenzlauer Berg, Schönhauser Allee 36, Kulturbrauerei, tel. 44 35 21 70, www.tic-in-prenzlauerberg.de. Open 12:00 ? 18:00, Thu-Sat 12:00 ? 20:00.

A word with Pro Prenzlauer Berg
The Pro Prenzlauer Berg association has been involved in the development of the touristic infrastructure and the regional marketing of the district for over 11 years, and strives to bring the eclectic attractions of this wonderful, creative Kiez to the attention of Berliners as well as tourists; ?It?s simply delightful to walk through the streets and to give yourself over to the district?s buzzing atmosphere. For me it?s the most exciting part of Berlin?. Sascha Hilliger, Hotelier and Chairman of the Board, Berlin Pro Prenzlauer Berg e. V., www.pro-prenzlauerberg.de

Something's brewing here
The block in the northwestern corner of Prenzlauer Berg holds the KulturBrauerei (?culture brewery?), one of Berlin's gems; a nightlife Mecca that with its red bricks, towers and chimneystacks resembles an old town setting. A cobblestone pedestrian way courses through the center of the former beer brewery, whose 20 buildings with 40,000 square meters are filled with bars, restaurants, clubs, galleries and a cinema. Now that it's also home to the district's tourist information centre (see elsewhere), it has established itself as the best place to start and end a day in the Kiez (district). 20,000 visitors each weekend can't be wrong; this is one of Berlin's special corners.

Biennial Tehran : Berlin / 21st November - 5th December 2008

2008-09-28T08:20:00.000-07:00

The website is ready...

2008-03-24T05:28:00.001-07:00

Urban Jealousy 
the 1st  International Roaming Biennial of Tehran
http://www.biennialtehran.com/

Download the Application in WORD documents here (Choose Your Langugae)
Farsi, French, English and Turkish

Dead line: Monday 21st of April 2008

poster designed by Amirali Ghasemi

Urban Jealousy - Call for art -

2008-03-08T15:02:00.000-08:00

Urban Jalousie
the 1st International Roaming Biennial of Tehran
1st station: Istanbul, 30th May - 6th July 2008

Curated by Amirali Ghasemi and Serhat Koksal

The title of this biennial is URBAN JEALOUSY. A Jalousie * (“jealousy” in French) is a window that one can see through but not be seen; barriers that allow us to observe the world without being invited to the table. Iranian artists are given an understanding of what goes on in the world without being offered a single opportunity to communicate their thoughts—outside of our very own jalousie window: a rigid ethnic frame within an extremely politicized context.

Of all the huge urban areas around the world, Tehran stands out as a different kind of Megalopolis. It boasts one of the most dynamic art scenes in the Middle East even as the city itself deals with a rudimentary public transport system, an exploding population crisis, and an ever-increasing sprawl of mass housing; An unsightly city of experimental architecture that swallows entire villages and towns without offering them any sort of public services.

Despite its complicated urban situation—which according to experts has already spiraled out of control—artists’ societies in Tehran continue to hold numerous biennials in semi-tribal fashion. A great number of these events are government-sponsored projects whose outlook and also their premises can shift 180 degrees from one year to the next. Each community has its own set of ceremonies, as a result of which, any sense of solidarity among the artists is lost.

The Tehran Visual Arts Festival, The Calligraphy Biennial, The Sculpture Biennial, The Cartoon Biennial, The Painting Biennial of the Islamic World, The Graphic Design Biennial, The Children’s Books Illustration Biennial, The Painting Biennial, The Poster Biennial, The Poster Biennial of the Islamic World… the list is endless.

Although the legendary "TEHRAN BIENNIAL" goes back 50 years, not a single one of the above-mentioned events can be considered a biennial by prevailing and accepted international standards". An arts society recently published a call to boycott the upcoming Painting Biennial in order to demand a professionally curated exhibition, protesting the open call process and a “jury” they deemed unacceptable.

It seems impossible to have a proper Tehran biennial in Tehran, so our sprawling city and its elitist art scene remain excluded from the highly competitive art market in the region despite being surrounded from all sides by lucrative biennials and auctions. We may have great artists living and working in Iran, but we don’t have a chance to share the profits.

Tehran, as one may suppose, does not seem interested in presenting itself as a desirable destination for cultural tourism, by playing it ‘cool’ like other global cities, or scramble to be hip by coughing up the membership dues to be in the international art market.

So, to jumpstart the process, and after a long discussion with my friend, Serhat Koksal — a critic of the global biennialization process — We decided to curate a ‘mini’, on the move, Tehran biennial. to not only stop complaining about the current situation but to benefit from the advantages of it. An independent, low- budget, traveling exhibition which can be presented almost anywhere. We will travel like nomads, carrying artwork, objects, texts, and whatever, in a package no bigger than a medium-sized suitcase, preferably weighing less than 20 Kg., so it can be carried on any cheap flight. The The Call for Art

Urban Jealousy
The 1st International Nomad Biennial of Tehran
30th May - 6th July 2008
Curated by Serhat koksal and Amirali Ghasemi

Dead line: Monday 21st of April 2008

Venue:
Urban Jealousy, the 1st International Nomad Biennial of Tehran will be landing in Hafriyat Karakoy, The Realm of Manifold Arts :
Necatibey Cad. No: 79 Karakoy Istanbul Turkey

Categories:
A - Video / Short Films / slide show
The video works should be send in DVD / Pal with English subtitle and the maximum length is 7 min, participants for this category should submit a digital file for preview in Quick time format, this can be sent by Email or can be uploaded in a hosting server (See the rules below), otherwise it also can be sent to Parkingallery Address by post on a data CD/DVD.

B - Ambient Sound/Music composition /Audio Collage/Speech
participants for this category submit a digital file for preview in MP3 format, this can be sent by Email or can be uploaded in a hosting server (See the rules), otherwise it also can be sent to Parkingallery Address by post on a data CD/DVD.

C - Photography / Still frame:
participants should send a digital image/scan from their the submission via E-mail and then the works are selected (See the rules), a hard copy of photos is requested with these specification: · For medium format photos: 20x20 cm · For 135/digital photos: 20x30 cm · Polaroid ( Original or a 20x20 reproduction in 20x20 cm )

D - Painting/Drawing/Illustration/Doodling/Sketch/3D Image/Cartoon/Comics
Because of the nature of the project: ”The smaller, the better!” Participants should send a digital image/scan from their submission (See the rules), the maximum size for this category is A4. And art works should not be framed or mounted on cardboard (and works on canvas should be rolled and be sent without the wooden frame)

E - Poster/paste up:
A3 size poster to be posted in public space (each participants should send 2 hard copies of the poster)
along with the requested digital files

F-Postcards To The Tehran Biennial
For this category, participants are asked to select (or design), and send postcards to the imaginary "Tehran Biennial", expressing themselves, sharing what they think it should include, or how they think it should look like.. Participants are being asked to sent these postcards to the Parkingallery project-Room in Tehran (Address below)

H - Stickers:
Each participant can submit up to 5 different stickers. These stickers will be posted in the destination cities where "Urban Jealousy" is being presented.

Rules:

This exhibition is open to artists from around the world, from any country, and from any background and discipline
Every participant / or collaborative team can submit only ONE piece, in each category
A digital image/ file of the work (Quick Time/JPG A4 300 dpi/MP3 128kps), should be sent to biennialtehran@gmail.com. The file shouldn’t be larger than 10 MB for photos and digital images . For videos, maximum file size is 100 MB using website http://www.mailbigfile.com. The participants whose application is approved will be contacted through email for sending their original artwork to organizers.
Artwork will not be returned until the end of the project: Around May of 2010. The organizer will not have the right to sell, distribute, use this material commercially, but they preserve the right to use the images/still frames/documentation/ extracts of audio and video-work in Press releases, publications, and the website of the project under the artist’s name.
Every participant is responsible for the information provided in the application form, which will be used for publications and the website, credits, etc. All work must be properly labeled with name, date, and medium.IMPORTANT: Every participant should submit a black and white portrait with the application, taken while they are pretending to be jealous of someone or something, in JPG 300 dpi, file size, 9x13 cm. These photos will be used in the catalog / website, as a side project to the main exhibition.

Any question?
Please feel free to write to us:
Amirali Ghasemi
Parkingallery: No. 11,4th Milad Street, Dadman Blvd. Shahrak-e Gharb, Tehran 14686 IRAN
Phone (studio): +9821 88579727
Mobile: +9821 912 122 3220
Email: amiralionly@gmail.com
Serhat Köksal
Email: serhatkoksal@hotmail.com
P.K.55 Suadiye 34741 Istanbul Turkey

Urban Jealousy
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